Cuparia

First, let it be stated that Robin Hood, the film directed by Ridley Scott, is less a swashbuckling adventure in the traditional sense than an attempt to reimagine the legendary hero’s origin in an historical context that discards much of the romantic mythology surrounding the reign of Richard Coeur-de-Lion. Inasmuch as the earliest legends of Robin Hood place his activities during the reign of an unspecified King Edward, the retelling of the story with an accurate portrayal of King Richard’s reign is hardly less faithful than a purely fanciful portrayal of the same. Naturally, much of the conflict arises from King John’s depredations, but unlike the popular reinterpretations of the Robin Hood myth that began in the 16th century, the return of Good King Richard, crusading in the Holy Land, is not awaited like the Second Coming of Christ to deliver England from evil. Unlike the myth as it has evolved in later centuries, Robin Hood is not a dispossessed nobleman, but a yeoman, a commoner, just as he was in the earliest tales. Unlike the character as it has been portrayed in film since the beginning (with the exception of Robin and Marian), Robin Hood in this film is a man, albeit a remarkable one, whom one could plausibly believe really lived.

Russell Crowe, as Robin Hood, is eminently qualified to imbue the character with a degree of realism almost without precedent. His is a Robin Hood with a lifetime’s worth of experiences even before he has embarked on the path that will bring him immortality in folklore. Cate Blanchett, as Marian, has perhaps the more daunting challenge of giving life to a character who is not only entirely fictional, but was not even originally part of the Robin Hood legend. The script gives Marian a better grounding than she has ever enjoyed in any other telling, and Blanchett adds believability and strength to the character’s noted beauty. Together, Crowe and Blanchett create a Robin and Marian who are individuals with their own complexity, whose relationship evolves humanly rather than arbitrarily. This is no small achievement for anyone tackling a story with such a long history and an audience with such deeply-ingrained expectations.

Although the trappings of this film suggest the pursuit of historical accuracy, there is also an allegiance to the spirit of the tales of Robin Hood, from the inclusion of such fictional characters as Marian and Alan-a-Dale, to the sentiments of true justice, compassion, and opposition to hypocrisy and tyranny. By choosing to set the film during the latter part of King John’s regency and the early part of his reign, it was possible to link Robin Hood directly to historic events that epitomize a rejection of the absolute rule of monarchs and the rise of a unique English identity beyond Saxon and Norman divisions.

All in all, Scott’s Robin Hood is the greatest film adaptation of the legend since Robin and Marian, and certainly the greatest film depicting Robin Hood at either the beginning or height of his career as the bandit who “steals from the rich to give to the poor.”

• Writing: Great
• Directing: Great
• Acting: Superb
• Cinematography: Great
• Stunts: Good
• Swordplay: Good
• Panache: Great

Overall Rating: Great
Swashbuckling Rank: Good